Arcangelo Corelli (1653-1713)was an influential composer,
musician and prominent figure in the musical world in the last
part of the seventeenth and very early eighteenth century in
Italy and beyond. It is indeed hard to accept that all the known
works of Corelli can be contained on just ten CDs. But they
can; they have been; and they're available again in a re-issue
of Brilliant Classics 92403. That set had a slightly different
disposition of works but is essentially the same.

It's a set of ten CDs recorded in 2004 and played on period
instruments by Musica Amphion under harpsichordist Pieter-Jan
Belder, who founded the ensemble in 1993. When the earlier version
of the set was reviewed
here almost six years ago, Jonathan Woolf found much to
be positive about. Though he was not unreservedly enthusiastic
about the Opp. 1 and 2 recordings in particular.

Nothing has changed: for all their reliable approach, and even
with the presence of established players like Jaap Ter Linden,
William Wroth and Mike Fentross playing cello, Baroque trumpet
and theorbo/guitar respectively, the music-making does at times
lack zest. The opening movement of Op. 2, No. 1 [CD.2 tr.1],
for example, almost plods. There's a consistent holding back,
an evenness of pacing and perhaps even a gentility in movements,
whole concerti too, where we have come to expect, if not fireworks,
then certainly a little more flare. But this 'evenness' has
the unfortunate side effect of diminishing the contrast between
slow and fast movements.

The last two movements of the Trio Sonata, Op. 1 No.6 [CD.1
trs.23.24], for example, sound in places more like Monteverdi
than the forger of modern violin technique. The adagio is neither
dull not lack-lustre. But it's very very … measured. That this
almost staid interpretation comes with great precision offsets
any lack of excitement that we may feel. Similarly, the arpeggiated
runs towards the end of Op. 1 No.8 [CD.1 tr.31] could have been
so much more springy.

On the other hand, this expectation of animation may not be
the most finely-tuned. We associate Corelli with spontaneity,
uplifting string phrasing, strident, though sparingly-projected,
brass and easily-discernible rhythmic insistency. The playing
of Musica Amphion goes some - though not all the - way to offering
this. Theirs is neither tentative playing, nor are the musicians
truly holding back. Just somehow failing to get to the core
of the music and expanding its vivacious essence into satisfying
wholes.

The advantages of having all of a composer's (known) works in
one collection - and played by the same performer(s) - are obvious:
consistency of style, familiarity with the composer, ease of
reference and availability of supporting notes. There are several
dozen other works outside the normally accepted corpus of Corelli
which are not otherwise widely available in current recordings.
This is a factor which cannot be overlooked.

In the case of Corelli, the surviving known output is small
enough for the serious collector also to gather all the works
individually. There are some outstanding issues to choose from.
The Purcell Quartet on Helios 55240 is an example; Manze and
Egarr on Harmonia Mundi 907298/99; Kuijken on Deutsche Harmonia
Mundi 77432; Huggett and Trio Sonnerie on Virgin Classics Veritas
90840. All good, stylish and convincing accounts.

Brilliant hasn't exactly pushed the boat out on support or presentation:
the booklet for getting on for ten hours' worth of music is
barely half a dozen pages. There are no track listings, no indications
of whether and which performers from Musica Amphion are at work
in which pieces. The recording is dry and close; it only just
avoids being dead.

Few of these performances are the best available. Nevertheless,
they come close to inspiring in places. The set is valuable
as a single survey of the great composer's work - especially
since it contains many items otherwise unavailable. The period
instruments sound well, the playing throughout is accomplished
and achieved with a certain almost nonchalance that suggests
the players are very familiar with the music. Try a movement
or two to see, though, if their style enhances or detracts too
much from Corelli's verve. The players certainly cannot be accused
of jauntiness … nor yet of having drained the life out of the
composer's works. The best term for this extremely reasonably-priced
box of ten CDs is a 'reference set'.

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